Cast & Crew
Rocky Barnes and Daniel Purvis, two policemen working the night shift, have been partners since they served in the war together. Although Rocky believes that even criminals have some good inside, Daniel is more cynical. Daniel is particularly anxious to capture petty criminal Ritchie Garris, but is hampered by the fact that the victims of Garris' strong-arm tactics refuse to testify against him. Rocky is more interested in the face that belongs to the sultry voice of the night dispatcher than he is in Garris and soon discovers that the attractive voice is that of Katherine Mallory, a policeman's daughter and the captain's secretary. Rocky and Daniel invite Kate to dinner at Garris' club, and there they spot Leo Cusick, an important mobster from the East. Rocky and Daniel believe that Cusick's presence at the club signals the beginning of a gang war to take control of the city. When the policemen drop Kate off at her home, she tells them there will be no more dates because she does not want to repeat her mother's experience as a policeman's widow. Kate's mother, on the other hand, encourages the men's interest in her daughter by renting them the flat next door. When a man is killed outside Cusick's loan company, the police converge on the building. Rocky and Daniel arrive first and chase Garris and his henchman, Joe Quist, as Kate listens over the radio. After the two policemen catch the criminals, Kate realizes that she has fallen in love with Rocky and agrees to marry him. Garris is found guilty of murder and as he leaves the courtroom, threatens revenge on Rocky and Daniel. Later, Garris escapes from jail and carries out his threat, killing Rocky. Determined to avenge his partner, Daniel sets up a constant watch on Garris' girl friend, Terry Romaine, refusing to believe her protests that she is finished with the gangster. When Garris shows up at Terry's apartment, she tells him that she wants nothing to do with him. In order to prevent her from leaving him, Garris then takes Terry's young neighbor Kathy hostage. Alerted by a listening device that has been planted in Terry's apartment, police surround the building, but Garris spots them and holds Kathy out the window, threatening to drop her unless the police leave the area. Daniel offers to try to reach Garris without harming Kathy. Once he is outside Terry's apartment, Daniel uses tear gas and shoots at Garris. Garris returns his fire, but Terry takes the bullet that was meant for Daniel. Daniel then kills Garris. Terry's unselfish action alters Daniel's belief that people do not change for the better, and Kate expresses her approval of his new attitude.
Lora Lee Michel
Jack Del Rio
Philip Van Zandt
Mary Ellen Kay
Harry Harvey Jr.
Mary Alan Hokanson
William E. Green
Richard La Marr
Thomas F. Quinn Jr.
Gerald Drayson Adams
Frank [a.] Tuttle
Columbia Pictures Film Noir Classics IV on DVD
The aptly titled So Dark The Night is an atypical, ambitious picture from the creative Joseph H. Lewis, who had already scored big with Columbia's sleeper success My Name is Julia Ross. Its leading player is actor Steven Geray, a very non-leading man type perhaps being rewarded for his fine supporting turn in Charles Vidor's Gilda. It's Geray's only starring role but he's excellent as a master detective.
Reteaming with cameraman Burnett Guffey, Lewis makes a minor masterpiece from a script by the mostly underachieving writers Martin Berkeley and Aubrey Wisberg. Inspector Henri Cassin (Geray) is an eccentric but brilliant sleuth sent to a French countryside Inn for a fortnight's rest. There he meets young Nanette Michaud (Micheline Cheirel), a small town girl engaged to local farmer Leon (Paul Marion). Nanette's advances overcome Henri's misgivings about taking a much younger wife, and he allows himself to be swept up by romance. But when their plans are interrupted by a series of murders Henri vows to catch the killer. Despite his inspired sleuthing, he soon runs out of leads.
So Dark The Night sees Joseph H. Lewis directing at his peak powers, making the most of a not extravagant budget: a patch of the San Fernando Valley becomes a credible substitute for rural France. Lewis's camera is always on the movie. He introduces characters with fast details, like feet on a sidewalk, and fingers on clothesline. "Wagon Wheel Joe's" predilection for foreground objects is in full force in many shots composed with dramatic depth indicators. Lewis does a fine job of distributing suspicion between several cast members. Is the killer the unhappy maid? (Helen Freeman) The angry father? (Eugene Borden) The hunchback? (Brother Theodore)
Concentrating on Steven Geray's marvelous performance, Lewis contrasts the man's gentle decency with his dogged determination to identify the murderer, complete with Sherlock Holmes- style clues and theories. Meanwhile, the director adds expressionist touches -- deeper camera angles, strange pauses -- to indicate something unsuspected is amiss. A surprise revelation is accompanied by a radical lighting effect cued by emotion alone. The film presents visual hints of "memory sensations", but no tiresome formal flashback to explain the mystery. A doctor's final theory reminds us of the finish of Alfred Hitchcock's Psycho. A definite film noir for its dark mood and stress on psychological chaos, So Dark The Night is a bold departure from the Hollywood norm.
A front-rank noir, 1947's Johnny O'Clock is the first directing job by the talented Robert Rossen, who would proceed to the classic Body and Soul and earn the Best Picture Oscar for 1949, All the King's Men. The title character is none other than Dick Powell, who here tempers the tough-guy hardboiled talk as he negotiates a path through various intrigues, including murder. The movie also features a trio of notable noir beauties, each in fine form.
Womanizing Johnny O'Clock (Dick Powell) lives a risky life. His partner in a swank nightclub is Pete Marchettis (Thomas Gomez), and a crooked, ambitious detective is trying his best to elbow Johnny out. Worse, Pete's wife Nelle (Ellen Drew) still has a yen for Johnny, and recklessly displays her affections. One murder leads to the apparent suicide of Harriet Hobson (Nina Foch), the club's hatcheck girl. When Harriet's sister Nancy (Evelyn Keyes) arrives, Johnny finds himself seriously falling for her. Meanwhile, Detective inspector Koch (Lee J. Cobb) is sizing up Johnny as a main suspect in the deaths, and Pete Marchettis finds evidence that Nelle and Johnny are a secret item. No matter how Johnny looks at it, he's in a solid frame. His only choice is to try and get Nancy free of the trouble.
Suave and unflappable, Dick Powell's Johnny does daily business with crooks and knows better than to be totally honest with anyone. Catching a poker dealer stealing money, Johnny lets him stay on with the reasoning that the next man hired might be smarter with his thievery. Johnny's personal assistant Charlie (John Kellogg) is an ex-con who otherwise wouldn't have a job; we can't tell if Johnny has a soft heart or likes having somebody willing to break the law for him. Johnny makes a strong contrast with his partner Marchettis, an unschooled brute frustrated that he can't hold on to Nelle, his trophy wife. Given his poor standing with the police, Johnny is surprised that the intelligent and caring Nancy should choose to stick with him. Women are O'Clock's stumbling block, but also his salvation. The film builds to a suspenseful finish.
Johnny O'Clock benefits from fine low-key B&W cinematography by Burnett Guffey, a true noir stylist. Guffey and director Rossen manage a moody tone even in bright cafes and swank sitting rooms. Evelyn Keyes never looked lovelier and Ellen Drew is irresistibly seductive. Nina Foch's role is much smaller, yet she makes a sympathetic impression. In his second film appearance, actor Jeff Chandler has a nice bit as a gambler from out of town.
Columbia must have liked the title Walk A Crooked Mile as they later released a noir entitled Drive a Crooked Road. But it plays like a re-run of Fox's wartime classic The House on 92nd Street, in which FBI agents infiltrate a Nazi spy ring and discover that they are smuggling top scientific secrets. Now Russian spies are stealing newer formulas out of the high-security Lakeview Laboratory by hiding them in oil paintings. F.B.I agent Dan O'Hara (Dennis O'Keefe) and Scotland Yard 'exchange agent' Scotty Grayson (Louis Hayward) infiltrate the spy network. They barely escape from the murderous Krebs (Raymond Burr), before sorting the innocent from the guilty back at the lab.
The film affects a semi-documentary style that's constantly on the movie, hopping from city to city and from surveillance stakeouts to places as mundane as a laundry service. Director Gordon Douglas gets good footage on the streets of San Francisco. He also manages an exciting FBI shoot-out of the kind that never happened in real Cold War confrontations. The scene reminds us of John Dillinger's mob caught in the fishing lodge in the 1935 Cagney movie G-Men.
The frequently repeated message is that only dedicated F.B.I. agents can save us from the communist conspiracy menacing us from all sides. One loyal immigrant woman sacrifices her life to protect our heroes, as she'd do anything to help America crush the evil she witnessed back in Eastern Europe. The movie also considers scientists as potential enemies. One is an outright traitor and another (Carl Esmond) is blackmailed into espionage work. Curiously, the movie seems to find a woman who did the physical smuggling (Louise Allbritton) innocent because her motive was love. Walk A Crooked Mile's impersonal semi-docu style, with narration constantly explaining everything, prevents us from getting too involved in the characters.
The poetically named Between Midnight And Dawn is really just a straightforward police story. The original title Prowl Car better describes a pro-police storyline that sees two cops on the graveyard shift take on a dangerous underworld figure. Director Gordon Douglas delivers a handsomely assembled thriller, filmed on permanently wet nighttime streets. But the script's idea of a compelling conflict is to make one cop a softie and the other a cynic about criminals and women.
Policemen Dan Purvis (Edmond O'Brien) and Rocky Barnes (Mark Stevens) go after the slimy racketeer Ritchie Garris (Donald Buka) while romancing Kate Mallory (Gale Storm) the dispatcher whose voice they hear on their squad car radio. Kate's cop father was killed on the job, so she avoids romantic attachments with them. But her mother purposely rents an apartment to the eager Romeos. Intuiting that a gang war is beginning, Dan and Rocky are able to arrest Garris and make the charge stick. But one jailbreak later, the gangster takes bloody retribution, and threatens innocent citizens. Only Danny is in a position to stop him.
The story plays as if it were written in 1935. The police force is predominantly Irish in makeup. The cops marry cops' daughters and an independent girl who wants to break the pattern is humored and harassed until she gives in. The sexism is complete when Kate's meddling mother refuses to let her make her own choices. Dan is secretly angry when Kate chooses the handsome Rocky, but tries to be magnanimous.
The attitude toward organized crime is equally dated. Two lowly patrolmen on the night shift are the spearheads of a major anti- organized crime bust, without really reporting to anyone. What's more, they parade their favorite girl in front of the gangsters, oblivious to the obvious notion that the criminal might strike back at them through her. Interestingly, the woman most threatened is Garris's own girlfriend Terry Romaine (Gale Robbins).
A fresh pace, lively acting (Edmond O'Brien could get any film up on its feet) and sharply directed action make Walk A Crooked Mile an exciting show, even if little or no noir content is evident. The only real concession to postwar thriller conventions is an uptick in violence. The final confrontation sees the rotten Ritchie Garris dangle a young girl from a high window, and threaten to drop her unless the cops back off.
Walk East On Beacon! is a second anti-communist spy drama, released near the end of the cycle in 1952. None of Hollywood's twenty or so contributions to Cold War propaganda were big successes. This one was sourced from an article by J. Edgar Hoover himself, and shapes up as a semi-documentary account of yet another spy ring using an overly complicated system to steal atomic secrets. The noted atom spies Ethel and Julius Rosenberg found it so easy to spirit secret formulas away from the U.S. that the aggressive government prosecution of their case can be attributed to a need to cover up gross deficiencies in the F.B.I.'s security policies. Hoover's account of a different case makes it look as if the F.B.I. has battalions of crack agents in reserve, ready to watch and track hundreds of suspects on a 24-hour basis. The story also stresses the importance of informing on one's friends and relatives in the name of National Security.
F.B.I. operative James Belden (George Murphy) handles a major spy investigation mostly by telephone. An anonymous phone tip soon leads agents to a Soviet spy ring. The ruthless mastermind Alex Laschenkov (Karel Stepanek) secretly directs dozens of deep-cover agents, two of whom steal information that leads the gang to math genius Dr. Albert Kafer (Finlay Currie) of a secret government scientific think tank. They motivate the old man into coughing up secrets relating to a special project called Falcon, by kidnapping his son Samuel in Berlin. The loyal Kafer instead informs the F.B.I., putting in motion a slow process to identify and capture all of Laschenko's many embedded spies.
Columbia's film hews closely to the semi-documentary form but director Alfred Werker isn't as adept as was Gordon Douglas at instilling ordinary street scenes with drama and tension. With its many locations and dozens of characters (some with double identities), the film's twisting plot must have left many audiences behind. Characters are seen just once or twice and disappear, but their names keep popping up later. One of two deep-cover husband and wife teams runs a florist shop, and an undertaker is also useful because he has a small printing press. There are far too many characters to keep straight.
British actor Finlay Currie's brave old professor becomes an unlikely double agent for our side. He takes a personal risk to deal personally with Vincent Foss (Jack Manning), a thuggish taxi driver working as a courier-spy. Foss turns out to be an anguished fellow coerced into spying "because of his foolish earlier associations with student radicalism". His own wife informs on him, as do many people in J. Edgar's version of events. Hoover's 'true' story also manages to finish with a standard action scene as the Navy helps nail the atom spies on the high seas.
Obscure trivia hounds take note: future director George Roy Hill (Butch Cassidy and the Sundance Kid) and his wife Louisa Horton play husband & wife traitors, but have only a few seconds of screen time together. Director Alfred Werker is credited on the superb docu-noir He Walked by Night. He actually left that film early to work on a film for producer Louis de Rochemont, who produced Walk East On Beacon! as well.
The title, by the way, is part of Dr. Kafer's instructions when he's sent on foot to turn over documents to the Soviet blackmailers.
The TCM Vault Collection's Columbia Pictures Film Noir Classics IV DVD set gives each title a separate disc. As with most all Sony transfers, the films are immaculate and have beefy, clear audio. The only drawback is that TCM discs normally do not carry subtitles for the deaf or hearing impaired. The viewing public for these 60 year-old movies skews a little older than that for contemporary films, and many older folk need the subs.
TCM's good extras include galleries of film stills and posters and occasional text essays. Martin Scorsese offers a relaxed video introduction for the collection, while Eddie Muller's essay dodges definitions of film noir by encouraging that we debate the status of films not immediately recognized as part of the style. Columbia Pictures Film Noir Classics IV presents two top-notch thrillers, a good police drama and two unusual Cold War relics. Fans of the noir style will definitely want it.
By Glenn Erickson
Columbia Pictures Film Noir Classics IV on DVD
Between Midnight and Dawn
Mark Stevens, the tough-guy leading man of The Dark Corner (1946) and The Street with No Name (1948), takes top billing as Rocky Barnes, the younger member of the partnership (he's even called "Junior" a couple of times by his older partner) and the easy-going optimist of the pair. Stalwart character actor (and haunted leading man of the 1950 film noir classic D.O.A.) Edmond O'Brien is the more serious, and more cynical of the two. He plays Dan Purvis, a veteran patrolman who has seen so much crime and corruption that he has given up on redemption for any of their suspects, even the teenagers they encounter in the opening scene. Still, even with scar tissue on his heart, he is steadfast in his loyalty to Rocky, his partner and best friend since they served together in the war; Dan even serves as a smiling wingman when Rocky romances Kate (Gale Storm), the pretty young secretary to their lieutenant and daughter of a police hero killed in the line of duty.
Between Midnight and Dawn opens with a panoramic view of Los Angeles by night and the documentary-style narration popular at the time, sets up the film as a realistic portrait of the unsung heroism of the police radio patrol, the first responders of any police call. The title of the film refers to the police night shift, which is where much of the film takes place. Number one on Officer Dan Purvis' most wanted list is Ritchie Garris (Donald Buka), a local hoodlum risen to the level of L.A. racketeer, and he makes it his mission to keep the pressure on him. With his smooth, young-looking face, feral eyes and street thug personality under high-class clothes, Buka makes for a memorable villain.
Gordon Douglas, a versatile director whose career spans from Our Gang comedy shorts to westerns, adventures and a number of Frank Sinatra pictures (including Tony Rome  and The Detective ), injects a tough attitude into the routine script, and gives the film a jolt of authenticity with plenty of location shooting, including a dynamic chase through busy Los Angeles downtown streets. Where most Hollywood films of the day make do with standard rear projection for scenes in moving cars, most of the patrol car scenes in Between Midnight and Dawn are shot on the streets, with a camera mounted on the car or placed in the back seat looking out at the real world passing by. And while Douglas uses classic noir chiaroscuro lighting of shadows and slashes of illumination in studio-set scenes, as in a shoot-out in a garage early in the film, his location footage is defined by hard, single-source lighting, which gives the scenes a down-and-dirty immediacy. They make these scenes stand out from the more conventional love story and buddy movie clichés of the genre.
While Between Midnight and Dawn doesn't offer any surprises to its story of cops, crooks and vengeance, it's a sturdy crime picture with a solid performance grounding the story and a hard, gritty attitude when it comes to life on the beat.
Producer: Hunt Stromberg
Director: Gordon Douglas
Screenplay: Eugene Ling (screenplay); Gerald Drayson Adams, Leo Katcher (story)
Cinematography: George Diskant
Art Direction: George Brooks
Music: George Duning
Film Editing: Gene Havlick
Cast: Mark Stevens (Officer Rocky Barnes), Edmond O'Brien (Officer Dan Purvis), Gale Storm (Katharine 'Kate' Mallory), Donald Buka (Ritchie Garris), Gale Robbins (Terry Romaine), Anthony Ross (Lt. Masterson), Roland Winters (Leo Cusick), Tito Vuolo (Romano), Grazia Narciso (Mrs. Romano), Madge Blake (Mrs. Mallory).
by Sean Axmaker
Between Midnight and Dawn
Miss Mallory... Do you mind if I call you Kate?- Rocky Barnes
You might as well. I've a feeling you'll get around to it in a minute anyway.- Katharine Mallory
The film's working title was Prowl Car and it was reviewed in Hollywood Reporter under that title. It was also copyrighted under both titles. A February 1, 1950 Hollywood Reporter news item noted that Larry Parks was to play one of the two starring roles. According to a February 21, 1950 Hollywood Reporter news item, both Mark Stevens and Edmond O'Brien demanded top billing for their work in the film. The principal spot was eventually awarded to Stevens even though he played the smaller part.